This is really well-conducted and well-played and well-recorded, but I don’t
know how strongly I can recommend it. Tchaikovsky’s last symphony, played
by a chamber orchestra, sounds too small.

Everyone involved puts in a superb effort. Thomas Dausgaard furnishes an appropriate
reading, fast and sprightly. The first movement is imbued with balletic grace
along with its tragedy. There’s a rare spring in Dausgaard’s step,
and the lightness of his interpretation comes close to masking the lightness
of the orchestral sound. The Swedish Chamber Orchestra is one of my favorite
ensembles right now - I especially love their Beethoven with Dausgaard on
Simax - and their soloists can be proud of their work here.

It’s just that the band is too small. The opening of the ‘allegro
con grazia’ reveals that the cellos aren’t numerous enough to
deliver the melody with its needed richness. At climaxes like 2:20 the tiny
size of the string section becomes sadly apparent. One knows that, with a
few more players, the sonic allure would be much higher. The big climaxes
everywhere, especially in the march, are simply underpowered.

What makes matters worse is that a similar account exists with a full orchestra,
and it’s astonishing. Daniele Gatti and the Royal Philharmonic show
similar timings in the first three movements, though Gatti takes much longer
to get through the finale; if you leave off the finale, Dausgaard is just
seven seconds faster. Gatti, too, brings a sense of Tchaikovsky the ballet
composer to the first two movements, and he also is breathtakingly fast in
the march. The Royal Philharmonic is simply beefier: their strings are more
luxurious, their brass more imposing, their timpani a more prominent part
of the sound picture. Starting at about 5:30, the ‘molto vivace’
from Sweden sounds ragged; it’s frankly saddening to hear. Go to Gatti,
or choose Mravinsky over both, but you knew that already.

It’s too bad, really. I like what BIS has done with the recorded sound.
I’ve heard details in the double bass I certainly never heard on any
other disc; on the other hand the bass drum sounds like someone thumping
a suitcase. I love Thomas Dausgaard’s work and his interpretation here
is exactly what is called for. I love the no-nonsense treatment of the Romeo
and Juliet overture, which does not sound hackneyed here. I love the playing
of the members of the Swedish Chamber Orchestra. I just wish there had been
more of them.

Brian Reinhart

Alas. I love Thomas Dausgaard’s conducting, and I like the orchestra’s
playing, but a chamber orchestra sounds rather saddening in this music.